本文探究楊逵的「首陽農園」與武者小路實篤「新村」運動之間的思想關聯。首先刊載於《台灣新聞》的武者小路之〈短文五則〉談起，檢視楊逵小說〈送報伕〉的刊行脈絡。通過這部批判資本主義的寫實主義小說，日本左翼文化人田中保男與入田春彥因而與楊逵結成知交。本文因此梳理了《台灣新聞》文藝欄的刊行狀況與田中保男的編輯風格，並追溯楊逵與日本警察入田春彥的情誼。\r 本文指出，楊逵的好友─宮崎縣出生的入田春彥之思想深受白樺派作家武者小路實篤的影響，他捐助楊逵創設「首陽農園」，與武者小路在日向地方推動的「新村」，兩者在強調互助與耕讀勞動的精神上有共通之處。然而隨著一九三七年日中戰爭的發生，武者小路實篤逐漸否定其非戰精神，入田春彥則通過自殺保全了自我。至於繼承入田遺產的楊逵，則透過「首陽農園」的遁守，維持個人生活與理想。但緊接著一九四一年大東亞戰爭的全面勃發，時局已經不允許楊逵這樣指標性的作家繼續沉默。農園自給自足之耕讀精神被轉化成「增產」／「勞動」等符碼，消極的田園生活被捲入戰爭翼贊的脈絡，楊逵因此在一九四四年宣告解除首陽農園。首陽農園雖然在大東亞戰爭的後期解除，但經由戰後「一陽農場」與「東海花園」的重建而延續。透過園丁及其田園生活的實踐而介入社會，耕讀勞動作為一種身體實踐的理想類型，從未消失在楊逵心中。

This article studies Yang Kui’s design and creation of Shouyang Farm. This project, this article argues, had intellectual connection with Saneatsu Mushanokoji “Atarashiki mura” (new village) movement. Beginning with the discussion of Saneatsu Mushanokoji’s “The Five Short Pieces of Writing” published on “Taiwan Shimbun” (Taiwan News) during Japanese colonialism, this article examines Yang Kui’s novel “Newspaper Boy”, and, especially, its circulation. Astounded by the story of Yasuo Tanaka, a leftist and editor in Taiwan News, and his friend Haruhiko Nyuta, a follower of Saneatsu Mushanokoji who was known for his “Atarashiki mura” campaign in prewar continent Japan, sought and established rapport with the author. Both causes emphasized mutual help and work/study in the farm. During the War, Yang Kui held on to his belief and ideal by practicing in Shouyang Farm while Saneatsu Mushanokoji abandoned his anti-war initiative and Haruhiko Nyuta committed suicide to let death keep his self. However, as the War further escalated, the practice and discourse of Shouyang Farm fell prey to the war propaganda for production and mobilization. Yang Kui closed the farm in 1944. After the War, Yang Kui rebuilt Yiyang Farm Donghai Garden to continue his prewar spirit of social involvement through farm life. His desire for an ideal life of work/study in the farm as body practice never disappeared throughout his lifetime.